Hundreds of Beavers Review
What can I say about Hundreds of Beavers that hasn’t already been said about pioneer trappers of the Northwest, 1920s German Expressionism, and Looney Tunes?
This film is absolutely mind-boggling. I strongly recommend watching the trailer before reading the rest of this article to get a real sense of what I’m talking about.
Hundreds of Beavers follows a man named Jean Kayak (played by Ryland Brickson Cole Tews). After his apple cider is stolen and his orchard is inadvertently destroyed by beavers, Jean sets off into the pioneering wilderness as winter descends upon the valley. The film tracks his bizarre and hilarious exploits as he learns how to live—how to hunt, build fires, create shelter—along with how to achieve success and even love.
The title might seem odd at first, but “hundreds of beavers” is actually one of the central problems Jean faces. As he explores the wilderness, he encounters a trading post owner (Wes Tank) and his daughter (Olivia Graves). Jean quickly falls in love with her—imagine love portrayed in Looney Tunes or old silent films: over-the-top and instantaneous. However, her father wants no part of this hapless wannabe trapper, who by that point in the film is barely surviving on his own. So, he names an absurd bride price: hundreds of beaver pelts in exchange for his daughter's hand.
While some may find this type of story archaic, the film is clearly set in pioneer times and intentionally produced in a way that evokes the cinematography and tone of the 1920s–40s. The use of silent film aesthetics—complete with intertitles, physical comedy, and slapstick—makes the setup feel more like a playful homage than anything problematic. With inspiration drawn from German Expressionism, Charlie Chaplin, Buster Keaton, and Looney Tunes, the film delivers a surprising amount of emotional resonance while also giving aspiring filmmakers like myself hope that something this bold and unique is still possible.
This film looks extremely low-budget in the best way. The “animals” Jean chases are literally people in mascot-style beaver costumes. In several scenes, green screen effects are used to multiply the number of animals on screen, copy-pasting the same performers to create the illusion of a massive beaver army. Honestly, if someone I trust hadn’t told me this was worth watching, I probably would have skipped it. But seeing how many awards it racked up at film festivals (highlighted in the trailer) really piqued my curiosity—and I’m so glad it did.
Overall, I quite enjoyed Hundreds of Beavers. Its use of digital noise and texture to make the footage feel older and more handmade was a revelation in low-budget filmmaking. I genuinely can’t believe how visually intriguing this movie is. There are times when I couldn’t tell what was filmed on location in a forest and what was done in front of a blue screen.
That said, if you can’t handle low-budget aesthetics, silent films, or black-and-white visuals, this probably won’t be your cup of tea. There’s only a brief moment or two of spoken dialogue; for the most part, it’s completely silent—full of slapstick and Looney Tunes-level insanity.
Still, I know it’s not just me who enjoys this kind of movie. Based on the level of popularity and critical acclaim this film has achieved, it’s clear that a lot of people are connecting with it despite—or maybe because of—what some would see as limitations.
Truly an astounding film. But if it’s not your thing, don’t feel bad—it’s not made for everyone.
